Introduction

Abstract

In Episodes, British writer Sean, who is developing a US version of his UK hit comedy, is trying to convince his star actor, Matt Le Blanc, of the importance of sticking to the original script. He argues his case by emphasizing character motivation and creative vision. Matt, however, though agreeing with him, rebukes him on the basis of business: if you want the programme to be a hit in the USA, you need to think of character development in the long run, because it is character development that allows audiences to remain interested over the long seasons that US dramas tend to have. Episodes thus constructs two very different industries: the UK system, which remains dedicated to the creative vision of the writer/creator, who is often perceived as artist and hence given reign over the development of a story, and the US industry, which is based on economic incentives and hence restricts the creativity of the artist in favour of well-established rules and conventions (Hesmondhalgh 2007). A large part of these conventions are focused on surface aesthetics, which include the choice of a younger, attractive actor (Matt Le Blanc) over those of the established actor, Julian Bullard (Richard Griffiths). But part of this also hits the core of the story, suggesting that the US network system has little space for unconventionality, particularly when it diverges from the white middle-class heterosexual family norm (Havens 2002).

Sean: You have seen the original show. There’s something

wonderful about your character loving this woman he can

never have. He refuses to believe that one day she won’t come

around. I mean yeah it makes him look a little foolish, but it’s

funny and sweet.

Matt: I agree.

Sean: You do?

Matt: Absolutely. It’s one of the best things in the show.

It humanizes the guy, you totally feel for him.

Sean: Then why change it?

Matt: How many years did you do the show in the UK?

Sean: Four series.

Matt: That’s how many episodes?

Sean: Twenty-four.

Matt: Right. That’s one season for us. Friends had 236 episodes. You gotta give yourself spaces for stories to go. How long do you think Ross and Rachel would have lasted if Rachel had been a lesbian? Or Sam and Diane on Cheers? Or Frasier and … I don’t know. I never watched the show. Look. You are the writer, but I’m telling ya: audiences need something to root for. And when we’re in season 3 and you are up at midnight looking for stories, you’re gonna be banging your head against the wall, saying: how many times can this guy hit on a dyke?

Episodes: ‘Episode 3’ (BBC, Showtime, 2011)